Groundhog Day Page #13

Synopsis: A weather man is reluctantly sent to cover a story about a weather forecasting "rat" (as he calls it). This is his fourth year on the story, and he makes no effort to hide his frustration. On awaking the 'following' day he discovers that it's Groundhog Day again, and again, and again. First he uses this to his advantage, then comes the realisation that he is doomed to spend the rest of eternity in the same place, seeing the same people do the same thing EVERY day.
Director(s): Harold Ramis
Production: Columbia Pictures
  Won 1 BAFTA Film Award. Another 6 wins & 17 nominations.
 
IMDB:
8.0
Metacritic:
72
Rotten Tomatoes:
96%
PG
Year:
1993
101 min
3,345 Views


CUT TO:

INT. DINER - LATER THAT MORNING

Phil is sitting at his usual table, which is covered with an

incredible variety of rich foods-- eggs, bacon, sausage,

pancakes, pies, cakes, eclairs, ice cream, puddings, etc.

Rita sits across from him, watching in amazement as he stuffs

himself with pastry.

RITA:

Is this some new fad diet? Don't

you worry about cholesterol?

Phil scrapes a plate and takes a final bite of a chocolate

eclair.

-52-

PHIL:

I don't worry about anything

anymore.

RITA:

What makes you so special?

Everybody worries about

something.

PHIL:

That's exactly what makes me so

special.

He takes a big bite of cake. Rita shakes her head.

PHIL:

(with his mouth full)

What?

RITA:

"The wretch, concentered all

in self,

Living, shall forfeit fair

renown,

And doubly dying, shall go

down to the vile dust from

whence he sprung,

Unwept, unhonored, and

unsung." Sir Walter Scott.

PHIL:

(stares at her for a

long moment)

"There was a young man from

Na n t uc k e t-- "

RITA:

That's really funny. When are

you going to grow up, Phil?

PHIL:

At this rate-- never.

(he pulls out a pack of

CIGARETTES)

Okay if I smoke?

Rita shrugs. Phil lights up a cigarette.

RITA:

You really do have a death wish,

don't you?

PHIL:

Just the opposite, Rita. I have

a life wish. I'm just trying to

enjoy it. Taking pleasure in the

little things. Don't you ever

just want to cut loose and go

wild?

-53-

RITA:

I wouldn't even know what it

means to go wild.

PHIL:

Yeah, well, that's where I come

in. Going wild is one of my

specialties. Last night I got

completely loaded and drove head-

on into a police car.

RITA:

(DISBELIEVING)

Oh, really? You look pretty good

this morning.

PHIL:

That's my point. I know you

won't believe me, but we could do

anything we want today and it

wouldn't matter one bit.

Absolutely no consequences.

Complete and total freedom.

RITA:

And how. . , do we manage that?

PHIL:

You leave that to me. Why don't

you send Larry back and hang out

with me for the rest of the day?

You never make it through that

blizzard anyway.

Larry enters the diner and spots them.

RITA:

I'll take my chances with the

-weather. But you have a good

time.

PHIL:

Don't worry. I plan to.

CUT TO:

EXT. GOBBLER'S KNOB - NEXT MORNING

Phil comes through the crowd and finds Nancy in the same spot

she was in the day before.

PHIL:

Nancy?

Nancy turns and looks at him quizzically.

-54-

PHIL:

Nancy, right?

NANCY:

I'm sorry, I--

PHIL:

Nancy Taylor? Lincoln High? I

sat next to you in Mrs. Walsh's

English class.

NANCY:

T h at --

PHIL:

Phil Connors.

NANCY:

--is amazing!

PHIL:

You don't remember me, do you?

NANCY:

I don't-- sure, I think--

PHIL:

We used to shoot spit balls--

NANCY:

Yeah, oh, God--

PHIL:

I even asked you to the prom.

NANCY:

Phil Connors.

PHIL:

Yeah.

NANCY:

How ARE you?!

PHIL:

I ' m great. Wow, you look

terrific. Hey, listen, I gotta

d o this report--

NANCY:

You're a reporter?

PHIL:

Weatherman. Channel 9,

Pittsburgh.

NANCY:

Right, I should've known--

-55-

PHIL:

But maybe after we could --

NANCY:

Yeah, yeah, I ' d like that --

RITA (O.C.)

Phil!

Rita is calling from across the crowd. She looks at him with

disapproval .

CUT TO:

INT. PHIL'S ROOM - NIGHT

Phil is making passionate love to a WOMAN in the dark.

WOMAN:

(MOANS)

Oh, Phil.

PHIL:

Oh , Rita .

The woman suddenly freezes. There is a moment of silence, then

she snaps on the light. It's Nancy, not Rita. Phil is as

surprised as she is by his slip of the tongue.

NANCY:

(COLD)

Who's Rita?

PHIL:

(CAUGHT)

No one. It's just something I

say when I make love. You know --

"Orita", "Orighta"-- it's like

"Oh, baby" or something.

NANCY:

(not entirely

CONVINCED)

Oh.

PHIL:

(corrects her)

O-rita.

Nancy laughs uncertainly. Phil switches off the light,

thinking now about Rita.

CUT TO:

-56-

INT. BREAKFAST ROOM - MORNING

Some elderly GUESTS are sipping coffee and eating breakfast,

staring uncomfortably at something on the other side of the

room.

THEIR POV:

Phil is standing at the bookcase, wearing only pajamas,

absently munching on a Danish as he reads from one of the

books.

Mrs. Lancaster approaches him.

MRS. LANCASTER

Isn't it a wonderful collection?

PHIL:

(not looking up)

Yes, it is. You don't usually

find this many trashy novels in

one place.

MRS. LANCASTER

You can take a book up to your

room if you like.

PHIL:

No, thank you. I've actually

read them all. I was just

rereading some of the dirty

parts.

He finishes and puts the book back on the shelf.

Rate this script:5.0 / 2 votes

Danny Rubin

Danny Rubin (born 1957) is an American screenwriter, actor, lecturer, and celebrity blogger. He co-wrote with Harold Ramis the screenplay for the comedy film Groundhog Day (1993), for which the two received a BAFTA Film Award for Best Screenplay. Rubin received a B.A. in biology from Brown University and a M.A. in radio, television, and film from Northwestern University. He has taught screenwriting at numerous universities and lectured on the topic at academic conferences since 1995. He is currently a Briggs-Copeland Lecturer on English at Harvard University. more…

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